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HANNS HOLDT / HUGO VON HOFMANNSTH AL 

PICTURESQUE GREECE 



ARCHITECTURE -^ LANDSCAPE 
LIFE OF THE PEOPLE 



ARCHITECTURAL BOOK PUBLISHING C 

PAUL WENZEL AND MAURICE KRAKOW 
NEW YORK 






\\1> 



INTRODUCTION BY HUGO VON HOFMANNSTHAL 
(TRANSLATED BY L. HAMILTON), PHOTOGRAFS 
BY HANNS HOLDT, .MUNICH, PROFESSOR HAMANN, 
"KUNSTHISTORISCHES INSTITUT", MARBURG, AND 
M. ZACHOS, ARCHITECT IN ATHENS 






PRINTED IN GERMANY 



INTRODUCTION 



Of all our journeys, that to Greece is the most spiritual. Of that semi-sensual 
curiosity, ever the secret underlying base of so many journeys, there is little that 
speeds us on our way to Greece. And when, ere we have set foot upon her 
shores, she greets us with that which we had thought of least: her entrancing 
and wholly eastern perfume distilled from orange blossoms, acacias, laurels and 
thyme, we are, for a fleeting moment, almost startled. 

Ours was a spiritual pilgrimage, and we had forgotten that from this land- 
scape might emanate another perfume than that of memories alone. We con- 
front that which we wish to see with too much spiritual impatience. In us dwell 
too many souls alloying their aspirations with our own towards these hills and 
temple ruins. We arrive lost in the company of a crowd of shadow-like com- 
panions. But they desert us the moment we step on shore, sense the actual 
rocks beneath our feet, inhale the fresh and sunny air. 'Tis then we stand in 
the forecourt of our desires and feel that we have lost our guides. But a short 
time ago, while our ship was sailing the Sicilian, "Greater Grecian" main, Goethe 
was with us. We leave him as we left Italia's shores. And suddenly we feel 
that he is a Roman. The great head of Juno Ludovisi intervenes between us 
and him. We remember that he never saw a real antique, nor a statue of the 
fifth century. And the placidity into which, together with Winckelmann, he 
steeped his antiquity is to us the condition of the German soul at a certain mo- 
ment: nothing more. But also the great intellectuals of the last century who 
unveiled a darker and wilder antiquity — also their intuition suddenly possesses 
no longer the same luminousness. Burckhardt, his countryman Backofen, Rhode, 
Fustel de Coulanges — incomparable interpreters of the dark foundations of 
the Greek soul, bright torches that lit up a graveyard world — yet there is 
something more here. Here is no sepulchre. Here there is so much light, and 
they never breathed in this light. All their visions are as the colour of lead in 
this lustre, and we leave them far behind us. — The first impression of this 
landscape is stern, set foot in it where you may. It casts off all dreamy visions, 
be they historical or otherwise. It is dry, close-fisted, expressive, and strange as 
a fearful emaciated countenance. But on it shines a light the like of which the 

V ■ 



eye has never seen before, a light that fills it with such joy that it would seem 
the eye had first learnt the meaning of seeing to-day. This light is at the same 
time inexpressibly mild. It shows up clearly the slightest detail with such 
distinctness, a gentle distinctness that sets the heart beating higher, and it 
surrounds that which is nearest — I can but use a paradox — with a luminous 
enveilment. It can only be compared with spirit. Things must exist thus in 
a wonderful intellect, so wakeful and so restful, so set apart, so joined. But 
how joined.? Not by Stimmung. Nothing is more remote here than this 
gossamer psycho-sensual dream element. — No, by the spirit itself. The light 
is bold, and it is young. It is the symbol of youth penetrating to the very 
core of the soul. Hitherto I had looked upon water as the most wonderful 
expression of that which is eternally young. But this light is still more 
emphatically so. 

They tell me this is the light of Asia-Minor, the light of Palestine, of Persia, 
of Egypt, and I understand the unity of history that has determined our inner 
fate since thousands of years. Troy, Xenophon's Ten Thousand, Cleopatra, and 
also Byzantine Theodora. All these thousand-year old adventures become both 
comprehensible and uniform as the parts of a single melody. Odysseus' ruses, 
Platon's irony, Aristophanes' impertinences: there is a wonderful identity in 
all, and the formula of such identity is the light. 

Everything that lives in this light lives fully and really: without hope, without 
longing, without grandezza. It lives. It is this: "they live in light". To leave this 
light, to become as shadows; it was this that was most dreadful. For this there 
was no consolation. "Rather a serf there than Achilles here". — He who has 
not seen this light does not understand such words .... From a hill I see 
somewhere a few goats on a slope. Their climbing, the movement of their heads; 
this all is real, and at the same time as though drawn by a supreme artist. The 
air invests these creatures with something divine beyond their animalism. This 
light is the perpetual marriage of the spirit with the world. A steep summit, a 
pine-tree or two, a small wheat-field, a tree with old roots clinging to the riven 
rocks, a cistern, an evergreen shrub, a flower. Individually they have no aspirations 
to blend with the whole, each lives unto itself, but in this light to be alone does 
not spell solitude. Here or nowhere the individual is bom; but he is born to a 
divine and companionable fate. In this air one is magnificently secluded — but 
no more deserted than one of the gods, wherever he might appear or pass through 
the air. And here all creatures are gods. This pine, beautiful as a column of 
Phidias, is a goddess. And of the spring flowers scattering their perfume and 
splendour from meadow-side it has been said — and rightly said — that they 
stand there like little gods. 

Here, man, as we understand him, was born, for here harmony of measure 
was born. The proportions of a temple remnant, three columns and a ruined 
gable shadowed by a solitary oak whose foliaged crown looks heavenwards are 
all so beautiful that they almost rend our soul, even as the deepest harmonies 

VI 



of music rend the soul. The sky itself, the height of the apparantly solid dome, 
is somehow included in the magnificent computation. And when a man steps 
between the columns, a peasant seeking a patch of shade, or a spot to eat his 
frugal meal, a shepherd with his dog, the whole scene becomes so beautiful 
that our heart swells with joy. Nothing we know of their ways, and manners, 
and cult appeals directly to our power of imagination. Their ceremonies, as far 
as archaeology devulges them to us, are as unpleasant as the sight of dancers for 
him who does not hear the music. We cannot grasp anything of their mysteries, 
save the relation of the human body to the stone-built sanctuary. 

The view from Acro-Corinthus extends to two seas with many islands, the 
snow-clad summit of Parnassus and the Achaian Mountains. Light creates out 
of all these an order that fills the heart with bliss. We know no better word 
for this than music. But it is more than music. — And what a lesson this light 
gives to the thoughtful observer! Here is no exaggeration, no admixture. Let each 
one see for himself But see it in its pristine purity. Seek not to discriminate, 
nor to group. Each stands in its alloted place, the whole is conjoined. Be calm, 
breathe, enjoy and sense your life. 

Nothing is more difficult than to guess in this landscape whether an object 
be far or near. The light makes it distinct, and at the same time spiritualizes it, 
makes it but a breath. But the power in a movement at a distance of one hundred 
and fifty paces is great. The beckoning of an Agogiate calls forth from a distant 
rock crevice the shepherd with his water skin. It is wonderful to think how in 
the Battle of Salamis the sea captains issued their commands on their gaudy 
wooden bridges which never could have been conveyed by human voice through 
the roar and din of battle, and how the Grecian eye seeking the outstretched 
hand of Themistocles in this atmosphere of vibrating silver decided towards 
evening the fate of the world. 

The Homeric gods and goddesses are always stepping out of the bright light. 
Nothing seems more natural as soon as one knows this light. We are from the 
north, and the semi-darkness of the north has formed our imagination. We di- 
vine the mystery of space, but we considered no other means of glorifying it 
possible than Rembrandt's chiaroscuro Now here we recognize that there is a 
mystery in full light. This light shrouds forms in mystery and familiarity at the 
same time. They are but trees and columns which meet our eyes in this light, 
or mayhap the mute bodies of the Erechtheum Caryatides, half virgins, half 
columns. And yet their corporeal beauty is of irresistible power in this light. 
But the gods and goddesses were statues of flesh and blood. From beneath the 
heavy and almost hard forehead the fire in their blood glowed forth. And in 
this air which wraps a veil of both awe and desire around every form, and if it 
be but a blossom-laden branch, we divine the look with which Paris, the lonely 
shepherd, measured the three goddesses, when they stepped towards him out of 
the glittering light, high-breasted in their pride and jealousy of one another, and 
ready to give all to win the victor's prize. 

VII 



What a situation! — And does it not bear like a diamond, uncrushed by 
any weight, the who[e of the stupendous and dark happenings of the Iliad? — 
Yes, these myths are true in another way than we thought. We loved them as 
the products of harmonious imaginative power. But there is more of magic in 
them, than we knew, a magic which enters man's soul straight from the actual. 
Before the first rays of the sun touch the heights of Parnassus, there is really ' 
something of the colour of the rose that floods its uppermost summit. This colour 
is exactly that of the living rose-petal, and exactly only two fingers wide, two 
fingers of a woman lightly laid on the bulwark of a ship, and just as light as the 
movement of a woman's hand. And it requires here a lesser effort of fantasy to 
see Eos fly westwards with rosy fingers, rapid as a dove, than to imagine a burning 
bush in the semi-darkness of our eternal w^inter afternoons. 



But this journey of ours is no journey to the picturesque. We are searching 
here for one of the sublime experiences of humanity. We wish to place our hand 
on the sanctuary. We wish to assist at festivals which, in their austerity and 
beauty, verge on the sublime. We wish to take direct, nay, physical part in that 
which we guessed at more than we experienced whilst deciphering our Aeschylus. 
A restless impatience stirs in us to discover the sublimely spiritual in forms. In 
this impatience lies the yearning of how many generations. And is it not above 
all Schiller's bold and great soul rising within us.^* His visions of the antique, this 
ever-recurring petulant demand to find somewhere on earth the incorporated 
idea of the beautiful which his inner eye was so strong to discern. Let us beware 
of confounding these things with the irresponsible "writings" of the average literati.' 
Schiller believed what he wrote. And he unfurled his whole ego like a far-flung 
flag in the tumult of a perpetual spiritual battle in which future and past are 
blended, and in which we too stand somewhere. 

The idea of recognizing in physical traces a spiritual sublimeness loses here 
on the soil of Greece its exaggeration akin to arrogance. And, indeed, in this 
light the spiritual is more embodied and the physical more spiritualized than 
elsewhere in the world. If, under these skies, we turn over the leaves of one ot 
Pindar's odes glorifying a pugilistic combat, the battle itself and the gigantic 
struggle issues forth into the very middle of this silver flame of poetry. The 
Olympic plain where they met brings into close relationship Athens, of which 
we think we know so much, and Sparta, of which we know so little. We sur- 
mise that they were both Greeks, and that their locked embrace and the mortal 
combat that slew them both was Greek life in its highest sense. Our faded 
Winckelmann vision which drew the beautiful too near to the charming, and to 
an ennervated charmingness at that — too near to Canova! — a vision that still 
lives in us somewhere has made us forget how closely beauty and strength, as 
well as strength with all that is terrible and threatening, to life are related: how 
could it otherwise bring life to its knees.? 

VIII 



But here, before these stupendous remains we recollectthat Castor and Pollux 
were Helen's brothers, that they were robbers of women and mighty fighters. 
If we think of Antigone here, we swear she was a sister of Achilles, and the de- 
fiance with which she met her king is of no less force than that of Thetis' son 
who stayed in his tent in spite of the commander and a hundred princes. These 
nameless ephebes, these "dew sisters" from the Acropolis, these Corai virgin 
priestesses, dug up from the ruins of Persian destruction, are magnificent beings, 
and powerful ones withal. There is something unactainable about them, some- 
thing more incomprehensible than the most beautiful Gothic figures. And also 
something more complete. Yet never before were the spiritual and physical within 
us so moved in the deepest roots, where they are united, by the sight of the physical. 
This completeness is the last word of the culture in which we are rooted. Here, 
neither the Occident nor the Orient are alone, and we belong to both worlds. 

Perhaps, with a romantic eye, we still conceive a complete figure that rises 
up in marble before us. Perhaps we vest it with too much of our consciousness, 
of our "soul". Let us be careful not to confound the infinitely different worlds. 
But even a cool and yet very attentive look fixed on one of these relics; an arm 
with a hand, a half nude shoulder, the knee of a goddess under a flowing garment, 
even this cool look which refuses any share of harmonious contact with this art 
feels, after a few seconds, absolutely in tune with this conception of completeness 
in which both spirit and senses have an equally wonderfully harmonious part. 
These hands, as beautiful as they are strong, and so unostentatious of strength 
or beauty, how they justify Anaxagoras' words: man is the cleverest being be- 
cause he has hands. And how freely the voug of Anaxagoras moves in these 
wonderful organs of the body. They are indeed organs, tools, but not blunt ones; 
and are no less spiritual than words. The sight of these supple, powerful, clever 
princely limbs reveals to us the philosophical language of the Greeks flashing like 
a chain of mountain peaks. Verily, here the spiritual and physical footsteps lead 
along the same path, and they all lead to the lion's den. 



Greek landscape, as it is to-day, may be disappointing when first seen. But 
it is only the first glance that disappoints. Present-day Greece is a woodless 
country, and has thus a certain hardness in its outlines, which, it is true, is 
bathed in the life-giving light. In vain we search for the "swelling hills" which 
enchanted Fallmerayer, when gazing across the country from the shore, or the 
chestnut thicket, and the platanes and oaks interspersed with a thousand bushes, 
into which he descended from a mountain cliff. But the swelling hills were near 
Trebizond, and he looked into the woods from the summit of Athos. Still to- 
day the peninsula of Volo — for centuries the forest reserve of the Dowager- 
Sultaness — has its famous chestnut woods; all this lies outside of Greece-proper. 
But Attica had only one little wood left, and this was set on fire during the war 
to remove the King whose country-house was situated in its midst. The erst- 

IX 



while "leafy Boeotia" is a stony basin with here and there a wheat-field and an 
olive-grove. But this hard and parched landscape has elements of beauty in it, 
the memory of v^^hich never fades. 

I have not set foot on the soil of Sparta, and I have only seen the summit 
of the Taygetus glittering in the air, but at intervals of years 1 have read more 
than once the pages Maurice Barres wrote about it, and which are the most 
beautiful words in the beautiful book he calls the "Journey to Sparta". They 
are the most complete example of a description which is both enthusiastic and 
restrained at the same time. They depict a mountain -range, and at the same 
time the soul of an uncommon man who sees these mountains. The jagged sum- 
mits and the crevices of the Taygetus spoke a language to this politician, this 
intellectual and visionary, to completely grasp which his soul was tuned. Nothing 
can be less vague and sentimental than the first striking effect the view of this 
mountain -range has upon him. The Taygetus affects him, as young Achilles 
hidden among the women of Scyros was affected by the sudden sight of spear 
and lance. His description is, like the work of a true author, unique and un- 
translatable. 1 feel how I spoil it, and yet 1 cannot resist inserting here the para- 
graph I have in mind for the sake of that which it deals with. 

"The valley's breadth of Lacedaemon through which, as a little river, the 
Eurotas wends its way along its too broad gravel bed is confined to the east by 
the Menelaion Mountains and to the west by the Taygetus. It is but a few miles 
broad, and its course is ever winding. Little laughing vales run southwards be- 
tween hard hills. This sinuosity calls forth the soul; and the onward flow blends 
well with the reddish Menelaion which rises up in pathetic terraces. But all this 
romanticness recedes far from the peaceful sublimity of the Taygetus. 

The Taygetus range rests On a mighty base showing dark folds to the eye. 
Cutting into its lower regions are deep crevices filled with blue gloom and woods; 
tall cliffs and strong bastions are its forts. These mighty outworks are pushed 
far into the plain as though ready to attack, and on the slopes are single villages 
that seem like dying heroes sinking wounded to the ground. On such a foun- 
dation dread precipices rise up, and above these, as a third zone, the region of 
glaciers and avalanches rises, and yet as highest above these the chain of steep 
ordered summits ranges itself admirably in its multiplicity of forms .... What 
power and greatness lies in the upward course of this elevation. How calmly 
it rests its weighty bulk upon the plain that caresses its feet voluptuously, and 
how it points its seven snowy caps skywards! The boldness of a writer will 
never be able to do justice to this brillancy and this forceful power, never be 
able to correctly depict these decisively pure-toned colours that spurn every dis- 
cordant shade, nor the grandiose essential differences as they calmly range from 
where the orange grows up to the sparkling ice-walls." 

I shall not attempt to place next to these lines a second description having the 
heroic of the Greecian landscape for its theme. They tell us all that one can be 
said about this landscape without digressing into the romantic. And it is on the 

X 



slopes of the Taygetus that our imagination - and that of Goethe too — sets 
the stage for the marriage of F'aust and Helen. But 1 once attempted to describe 
a more gentle element of this landscape, and one that is often repeated, so that 
those who have travelled in Greece may be reminded of this or that landscape. 
I mean the approach at eventide to some solitary monastery. And I will recall 
both for myself and those who read these lines that still vivid description of that 
tender scene. 

"We had ridden this day nine or ten hours, and had encountered nought in 
the flat stony hollow of the sloping mountain valley save once in a while a 
shepherd with his flock, or a tortoise crossing our path from underneath small 
sweet-smelling shrubs. Towards evening we saw a distant village, but we left it 
behind. Then we heard the sound of sheep-bells both near and far, and our 
mules mended their pace and inhaled the perfume-laden air that came from the 
narrowing vale: the perfume of acacias, strawberries and thyme. We felt how 
the bluish mountains closed in on us, and that this valley was the end of the whole 
way. For a long time we rode between two wild-rose hedges, and then between 
low walls behind which were fruit gardens. An old man a with gardener's knife 
in his hand was wading breast-deep in blossoming hedge-roses. The monastery 
was sure to be quite near, and we were surprised not to see it. Suddenly a door 
opened in the wall on our left, and a monk was leaning in the doorway. He was 
young, had a fair beard cut in a manner that reminded one of Byzantine portraits, 
a Roman nose, and unsteady blue eyes. He greeted us by bowing and stretching 
out both arms. We dismounted and he preceded us. We entered a passage, and 
into a room, and saw that we were in the middle of a monastery. It was built 
into the mountain, and our room, which, entered from the garden, was on a 
level with the ground and two stories high over the courtyard. The old church, 
with the glory of the evening light upon its thousand years old reddish walls and 
cupolas, enclosed one side, and the other three were composed of such houses 
as the one we stood in, and the little balconies were light blue or yellow, or blue- 
green. Peace reigned everywhere, peace and joy sweetened by the perfume of 
flowers. Below, a fountain was plashing. Monks in long black garments, their high 
black cowls covering handsome faces adorned with jet black beards passed across 
the yard and vanished through the church-door, or they were leaning over bal- 
conies, or passing down an open stairway. Half-loud voices in the church were 
beginning to sing the psalms set to an old melody. The voices rose and sank, 
and there was something infinite, equally far from sorrow as from joy, something 
solemn which seemed to come from eternity and continue to sound forth thus 
into eternity. Across the yard the boys' voices echoed the melody which drifted 
through an open window.... We were in the midst of the present, and we were 
surrounded by the sacred customs of the Oriental Christian Church But the 
gestures, the sublimeness, the language, and even the rhythm of the obeisance 
— the proskynese — is Byzantium, and is older than Byzantium The little owls 
were calling in the garden, the cicadas began their chirp; where the evening star 

XI 



hung, the ridge of Parnassus was shining invisible behind daric mountains, and 
there in the flank of the mountain lay Delphi. Nowhere were we apparently 
further from that sunken world, and never indeed so sentiently near. And 
when the head of a beautiful choir-boy appeared at an open window, graceful 
and self-confident, one who had echoed the sacred melody before, nothing 
was more natural than to confound him with another, and to vest another form 
with these customs which seemed to us mysterious and yet comprehensible. 
And never a shadow-like picture, at least of grey antiquity, was so tangibly near 
as when — in the Phocaen temple vestibule — we believed for a moment 
we saw in the body Sophocles' boy Ion, and thought we breathed the same air 
with him. 



XII 



TABLE OF CONTENTS 



1. Athens. Capital from the Propylaea 

2. Athens. Acropolis. Propj'Iaea from the north- 
east 

3. Athens. Acropolis. Capital from the Propylaea 

4. Athens. Acropolis. View through the Pro- 
pylaea from the south-east 

5. Athens. Acropolis. View through the Pro- 
pylaea to the Nike Temple 

6. Athens. Acropolis. Nike Temple from the 
north-east 

7. Athens. Acropolis. Erechtheion from the south- 
west 

8. Athens. Acropolis. Hall of the Caryatides of 
the Erechtheion 

9. Athens. Acropolis. Erechtheion, north hall 

10. Athens. Acropolis. Parthenon from the west 

11. Athens. Acropolis. Parthenon from the north- 
west 

12. Athens. Acropolis. In the Parthenon, looking 
towards the east 

13. Athens. Acropolis. Parthenon, eastern part 
from the north 

14. Athens. Acropolis. Parthenon, eastern corner 
from within 

15. Athens. Acropolis. Parthenon, corner ofgable 

16. Athens. Entrance to the Odeum of Herodes 
Atticus with view ot Nike Temple 

17. Athens. Interior of the Odeum 

18. Athens. Arch of the Odeum seen from entrance 
of the Acropolis 

19. Athens. Viewof the Acropolis from roof of the 
Castle 

20. Athens. Acropolis from the north-west 

21. -Athens. Acropolis from the west 

22. Athens. Head of a girl 

23. Athens. Head of a youth . 

24. Athens. Theatre of Dionj'sus 

25. Athens. Theatre of Dionysus 

26. Athens. View of .'\thens from the Acropolis 
with Lycabettus Mts. 

27. Athens. Viewfromthe AcropolistowardsMount 
Hymettus. 

28. Athens. Olyrnpieum from the south 

29. Athens. Olyrnpieum from the east 

30. Athens. Olympieum from the west 

31. Athens. Archway in the Roman Market 

32. Athens. Entrance of the Theseion 

33. Athens. The Theseion from the west 

34.._ Athens. Roman Market with the Tower of the 
winds 

35. Athens. Small Metropolis 9th^l2th century 

36. Athens. Relief on the small Metropolis 

37. Athens. Relief on the small Metropolis 



38. Athens. Relief on the small Metropolis 

39. Athens. St. Sotcre at the foot of the Acropolis 

40. Athens. Entrance to the church of Panagia 
Megalo Monastiri 

41. Athens. Panagia Megalo Monastiri church 

42. Greek woman in ancient national costume 

43. Greek woman in ancient national costume 

44. Greek woman in ancient national costume 

45. Dance of the body-guard 

46. View from Caesariani towards Athens. 

47. Sunion. 'Column Cape' 

48. Sunion. Temple of Poseidon, entrance 

49. Sunion. Temple of Poseidon 

50. Caesariani Convent on Mt. Hymettus 

51. Daphni. Convent ca. 1100 

52. Daphni. Convent Yard 

53. Caesariani Convent Church 

54. Daphni 

55. Daphni 

56. Daphni. Interior of the Church 

57. Daphni. Mosaik in the Cupola ca. 1100 

58. Isthmus of Corinth Canal 

59. Corinth. Roman Market with Acrocorinthos 

60. Corinth. Apollo Temple, interior from the 
north-east 

61. Corinth. ApolloTemple from the south-west, 
6iit century B.C. 

62. Corinth. Source House of the Peirene, Entrance 

63. Corinth. Interior of a Peasant's House 

64. Corinth. Source House of the Peirene 

65. Corinth. Glauke Source 

66. Acrocorinthos Castle 

67. Acrocorinthos Castle. View from interior 
towards 1st Gateway 

68. Acrocorinthos Castle. View from the heights 
towards the south 

69. Acrocorinthos. View from the heights towards 
the north, gulf of Corinth 

70. Mycenae. View'of the Citadel from the south 

71. Mycenae. The Cupola Tomb 

72. Lion of Chaeroncia 

73. Apollo. Temple of Bassae 

74. Nauplia 

75. Fortified island near Nauplia 

76. Byzantic Ruins with Taygetos Mts. 

77. Sparta with Taygetos Mts. 

78. Vegetation near Nauplia 

79. Vegetation near Olympia 
SO. Mistra. Pantanossa Convent 

81. Mistra. Interior of the Church 

82. Mistra. Interior of the Church 

83. Mistra. Interior of the Church 

84. Mistra. Relief 



XIII 



85. 
86. 
87. 



89. 

90. 

91, 

92. 

93. 

94. 

95. 

96. 

97. 

98. 

99. 
100. 
101. 

102. 
103. 
104. 
105. 

106. 
107. 



108. 

109. 

110. 
111. 
112. 
113. 
114. 
115. 
116. 
117. 
118. 
119. 
120. 
121. 
122. 
123. 
124. 
125. 

126. 
127. 
128 
129. 



Mistra. 

Mistra. Citadel Walls 

Mistra. 

Olympia. Two Columns of the Temple of 

Hera 

Olympia. Field of Excavations 

Olympia. Bed of the Cladeos 

Olympia. Field of Excavations 

Olympia. Aphrodite, small head 

Olympia. Athena head (from a metope) 

Olympia. Hermes of Praxiteles 

Olympia. Nike of Paeonios, 420 B, C. 

Olympia. Hercules (from a metope) 

Olympia. Athena (from a metope) 

Patras. Harbour 

Bay of Itea 

View from Delphi towards Itea 

Delphi. Circular Building for presents of 

incense from Argos 

Delphi. Apollo Temple 

Delphi. Pedestal of a Statue of Triumph 

Delphi. Hall of the Athenians 

Delphi. Sacred Path with Treasure House of 

the Athenians 

Delphi. Head of the Charioteer 

Delphi. West Gable of the Treasure House 

of the Cnidians, 6th century B. C. Struggle 

between Hercules and Apollo for the Delphic 

Tripod 

Delphi. View from the Athenian Treasure 

House 

Delphi. Column, with view of theCymnasium 

and Marmarion 

Delphi. Stadium with the Shining Rocks 

Delphi. Stadium General view 

Araehova. 

Parnass. 

Hosios Lucas Convent, Yard 

Hosios Lucas Convent 

Hosios Lucas Convent, Cupola 

In Hosios Lucas Convent 

Hosios Lucas Convent, Byzantine Capital 

Hosios Lucas Convent, Angel Mosaic 

Chalcis. Byz. Lion Relief 

Chalcis. Mosque 

Pharsalus. Mediaeval House 

Pharsalus. Spring 

Volo. Painted Tomb 

Theseus and Antiope from the Pediment of 

the Apollo Temple in Eretria 

House in Ana- Volo 

Shepherd Boy 

Cloister in Demeril 

Macrinitza, Fountain 



130. View from the Pelion slopes to the Gulf of 
Pagasae, lolcus hill to the left 

131. Macrinitza on Pelion 

132. Village of Kastraci with Meteora Rock 

133. Meteora Rock from the north 

134. Deserted Meteora Convent on Rocks 

135. Village of Kastraci 

136. Meteora. View from Hag-Barlaam towasds 
the south 

137. Meteora Convent, founded 1388 

138. Arta 

139. Arta 

140. Arta. Capital 

141. Lion Relief from Saloniki 

142. Kastorias 

143. Baba. Temple Valley 

144. Saloniki. Interior of St. Demetrios 

145. Saloniki. Turkish Graves 

146. Saloniki. Transept of the Hagia Sophia 5th 
century 

147. Saloniki St. Demetrios, Renaissance Tomb 
of Lucas Spandonis 

148. Saloniki. Turkish Mosque 

149 Saloniki. So-called "Rotunda" (St. George's 
church) with Minaret and Turkish Tombs 

150. Saloniki. Hagia Sophia 5ih century 

151. Saloniki. Babtisterium 

152. Saloniki. Tschaurch, Monastir 

153. Saloniki. Street Scene 

154. Leukos. Hagios-Nicolas Source 

155. Korfu. Eastern Coast with Pontikonisi Isle 

156. Leukos. Western Coast 

157. Leukos. Vlicho Harbour from the south-west 

158. Aegina. Aphaia Temple. 

159. Aegina. Aphaia Temple. 

160. Aegina. View from Aphaia Temple to the sea 

161. Delos. Theatre. 

162. Naxos. Naxia, the Capital 

163. Syra. (Hermupolis) Palaeo-Syros 

164. Thera. Phira from the south 

165. Thera. Phira from the north with St. Elias 
Castle 

166. Thera. Windmill in Merowigli 

167. Thera In the Harbour of Phira 

168. Thera. In the Hosios Elias Convent 

169. Thera. Ascent to Pira. 

170. Thera. Convent Street St- Elias 

171. Thera. Nuns' Convent in Skaros 

172. Chios. Street 

173. Chios. Street 

174. Crete. Palace of Phaistos, Hall and Staircase 

175. Crete. Palace of Phaistos, the two great 
Staircases 

176. Crete. Palace of Phaistos 



XIV 




Athen 

Kapltell von den Propylften 



Athfenes 
Chaplteau des Propyl^es 



Athens 

Capital from the Propyleea 




Akropolis. 



Athen 

Propyiaen von Nord-Ost 



Acropolis. 

Ath^nes 

L'Acropole. Propyl6es du nord-est 



Athens 

Propylaea from the north-east 




Athen Athens 

Akropolls. Kapitell von den Propyiaen Acropolis. Capital from the Propyiaea 

Athenes 
L'Acropoie. Chaplteau des Propyl6es 




Athen 

Akropolls. Durchblick durch 
die Propyiaen von SOd-Ost 



Athfenes 



Athens 

Acropolis. View through the Propyie 
from the south-east 



LAcropole. Coup d'oeil par les PropyI6es 
du sud-est 







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Athen 

Akropolls. Karyatlden - Halle 
des Erechthelorts 



Athens 

Acropolis. Hall of the Caryatides 
of the Erechthelon 



Athfenes 

LAcropole. Galerle de carlatldes 
de rErechth6lon 




Athen 

Akropolls. Erachthelon, Nordhalle 



Ath^nes 

L'Acropole. L'Erochth6ion, 
galerle du nord 



Athens 

Acropolis. Erechthelon, north hall 




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Athen 

Akropolls. Parthenon. 
Ostecke von Innen 



Athens 

Acropolis. Parthenon, 
eastern corner from within 



Athfenes 

L'Acropole. Le f='arth6non. 
coin oriental, vu de I'int^rleur 



14 




15 




Athen 

EIngang des Odelon des Herodes 
Attlcus mit Bllck auf Niketempel 



Athens 

Entrance to the Odeum of Herodes 

Attlcus with view of Nike Temple 



Athenes 



Entr6e de l'Od6on de I'Hdrode Attique 
avec vue sur te temple de Nike 



16 




Athen 

Inneres des Odeion 



Athens 

Interior of the Odeum 



Ath^nes 

Int^rieur de I'Od^on 



17 




Athen 
Bogen des Odeion,vom Aufgang zur 
Akropolls aus 



Athens 

Arch of the Odeum seen from entrance 
of the Acropolis 



Ath^nes 

Cintre de I'Od^on, vu d 
sur I'Acropole 



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Athen 

M^dchenkopf 



Athens 

Head of a girl 



Athfenes 

TSte de jeune fllle 



22 




Athen 

Jungllngskopf 



Athens 

Head of a youth 



Athenes 

Tgte de Jeune gar9on 



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Athen 

Olympleion von Westen 



Athens 

Olympieum from the west 



Athenes 

L'Olynnp6ion. Vue de I'ouest 



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Athen 

Eingang zum Theseior 



Athens 

Entrance of the Theselon 



Athenes 

Entree du Th6s6ion 



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Athen 

Relief an der klelnen Metropolis 



Athens 
Relief on the small Metropolis 



Athenes 

Relief a la petite M6tropol€ 



36 




Athen 

Relief an der klelnen Metropolis 



Athens 

Relief on the small Metropolis 



Athenes 

Relief A la petite M6tropole 



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Athen 

Eingang zur Kirche Panagia 
Megalo Monastlrt 



Athens 

Entrance to the church of Panagia 
Megalo Monastirl 



Ath^nes 



Entree de I'^gllse Panagia Megalo Monastlrl 



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At hen 

Griechin In alter Natlonaltracht 



Athens 

Greek woman in ancient national costume 



Athfenes 



Femme grecque dans I'ancien costume national 



42 




Athen 

Griechin in alter Nationaltracht 



Athens 

Greek woman tn ancient national costume 

Ath^nes 

ne grecque dans I'anclen costume national 



43 




Athen 

Grlechln In alter Natlonaltracht . 



Athens 

Greek woman in ancient national costume 



Athfenes 

Femme grecque dans I'anclen costume national 



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Athen 

Sunion. Poseidon-Tempel. Eingang 



Athens 

Sunion. Temple of Poseidon, entrance 



Athfenes 

Sunion. Entr6e du temple de Poseidon 



4S 




Sunion 

Poseldon-Tempel 



Sunion 

Temple of Poseidon 



Sunion 

Temple de Poseidon 



49 




50 




51 




Daphnl. Klostorhof 



Daphni 

CloTtre du couvent de Daphni 



Daphni . Convent. Yard 



52 




Klosterklrche KSsarlani 



Caesarlani Convent Church 



Chapelle du couvent de KaesarlanI 



53 




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Daphni 

KIrchenlnneres 



Daphni 

Interior of the Church 



Daphni 

Intdrleur de I'^llse 



56 




Daphni 

Kuppelmosalk ca. 110O 



Daphni 

Mosalk In the Cupola ca. 1100 



Daphni 

MosaTque de la coupole, en 1100 environ 



57 




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Korinth 

Quellhaus der Pelrene 



Corinth 

Source House of the Peirene 



Corinthe 

La source de Petrene 



64. 






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71 




L6v»/e von Chfironeia 



Lion of Chaeronela 



Le lion de Ch6ronela 



72 




73 




Nauplia 



Nauplia 



Nauplia 



74 




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Befestlgte Insel bel Nauplla 



He fortlflde pr&s de Nauplla 



Fortified Island near Nauplla 



75 




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Mistra 

Kloster Pantanossa 



Mistra 

Pantanossa Convent 



Mistra 

Couvent de Pantanossa 



80 




Mistra 

Klrcheninneres 



Mistra 
Interior of the Church 



Mistra 

Int^rleur de la chapelle 



81 




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83 




Mistra 

Relief 



Mistra 

Relief 



Mistra 

Relief 



84 




85 




Mistra 

Burgmauern 



Mistra 

Citadel Walls 



Mistra 

Murs de la forteresse 



86 




Mistra 



S7 




Olyrnpia 

Zwei Sciulen vom Tempel der Hera 



Olyrnpia 

Two Columns of the Temple of Hera 



Olyrnpia 

Deux colonnes du temple d'H6ra 



88 




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Olympia 

Aphrodite- Kttpfchen 



Olympia 

Aphrodite, small head 



Olympia 

TSte d'Aphrodite 



92 




Olyrnpia 

Athena-Kopf (von elner Metope) 



Olympia 

Athena head (from a metope) 



Olympia 

Tete d'Ath6n6e (d'une m6tope) 



93 




Olympia 

Hermes des Praxiteles 



Olympia 

Hermes of Praxiteles 



Olympia 

Hermifes par Praxitfeie 



94 




Olympia 

Nike des PSonios 420 v Chr. 



Olympia 

Nike of Paeonios. 420 B. C. 



Olympia 

Nike par Peonlos, 420 avant J, C 



95 




Olympia 

Herkules (von einer Metope) 



Olympiar 

Hercules (from a metope) 



■ Olympia 

Hercules (d'une m6tope) 



96 




Olympia 

Athena (von einer Metope) 



Olympia 

Athena (from a metope) 



Olympia 

Ath6n6© (d'une metope) 



97 




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Apollo-Tempel 



Delphi 
Apollo Temple 



Delphes 

Temple d'Apollon 



102 




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Delphi 

Kopf des Wagenlenkers 



Delphi 
Head of the Charioteer 



Delphes 

TSte du conducteur de char 



106 




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107 




Delphi Delphi 

Bllck aus dem Schatzhaus der Athener View from the Athenian Treasure House 

Delphes 
Vue prise de la malson du trdsor des Ath6niens 



108 




Delphi 

Column, with view of the Gymnasium and 



Delphi 

S&ulentrommel mit Bllck auf das Gymnasium 

und Marmarlon Marmarlon 

Delphes 

Tambour & colonne- avec vue sur le Gymnase et Marmahon 



109 




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112 




113 




Kloster Hoslos Lucas, Hof 



Hoslos Lucas Convent, Yard 



Couvent d'Hosios Lucas, le clftltr© 



114 




Kloster Hoslos Lucas 



Hosios Lucas Convent 



Couvent d'Hosios Lucas 



115 




116 




117 




Kloster Hoslos Lucas, byzantin. Kapitell Hoslos Lucas Convent, Byzantins Capital 

Int^rieur du couvent d'Hosios Lucas. Chapiteau byzantin 



118 




Kloster Hosios Lucas, Engel-Mosaik Hosios Lucas Convent. Angel Mosaic 

lnt6rleur du couvent d'Hoslos Lucas. Ange en mosaVque 



119 




Chalkis 

Byz. Lttwenrelief 



Chalcis 

Byz. Lion Relief 



Chalcis 

Relief de lions byzantlns 



120 




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Pharsalos 

Mittolalterllches Haus 



Pharsalus 

Mediaeval House 



Pharsale 

Malson du MoyenSge 



122 




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123 




Volo 

Bemaltes Qrabmal 



Volo 

Painted Tomb 



Volo 

Tombeau d6cor6 de peintures 



124 




Theseus und Antlope vom Giebel 
des Apollontempels In Eretria 



Theseus and Antiope from the Pedimer 
of the Apollo Temple In Eretria 



Th6s6e et Antlope, du f^'te du temple 
d'Apollon & Erythr6e 



125 




Haus in Ana Volo 



House In Ana-Volo 



Maison & Ana-VoIo 



126 







HIrtenknabe 



Jeune pStre 



Shepherd Boy 



127 




128 




129 







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131 




132 




133 




Verlassene Meteorakiasler auf Felsen Deserted Meteora Convent on Rocks 

Couvents abandonn6s sur les rochers de M6t6ora 



134 




Dorf KastrakI 



Village of KastracI 



Le village de Kastraki 



135 




Meteora Meteora 

Bllck von Hag-Barlaam gegen SOden View from Hag-Barlaam towards south 

M6t6ora 

Vue de Hag-Barlaam vers le sud 



136 







Kloster Metebron 1388 gegrQndet Meteora Convent, founded 1388 

Le couvent de M6t6ora, fond6 en 1388 



137 




138 




139 




Arta 

Kapltell 



Arta 

Capital 



Arta 

Chaplteau 



140 




LOwenrellef aus Salonlkl 



Lion Relief from Salonlkl 



Relief de lions ^ Salonlque 



141 




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Saloniki 

Seitenschlff der Hagia Sophia. 5. Jahrh. 

Salonique 

Nef laterals de Salnte-Sophio, 5 i,rr 



Saloniki 

Transept of the HagIa Sophia 5 Ih. Cent 



146 




Saloniki 

H. Demetrios. Renaissancegrab 
des Lucas Spandonis 



Saloniki 

St Demetrios. Renaissance 
Tomb of Lucas Spandonis 



Salonlque 

St. D6m6trius. Tombeau de Lucas Spandonis 
datant de la Renaissance 



147 




Saloniki 

TOrk. Moschee 



Saloniki 

Turkish Mosque 



Salonique 

Mosqu^e turque 



148 




Saloniki 

Sogen. „Rotundo" (St Georgsklrche) mit 
Minarett und tCirklschen Grabern 



Saloniki 

So-called ..Rotunda" (St. George's church) 
with Minaret and Turkish Tombs 



Salonique 



La ..Rotonde" (Egllse St Georges) avec le 
minaret et les tombeaux turcs 



149 




Saloniki 

Hagia Sofia 5. Jahrh. 



Saloniki 

Hagia Sofia 5 th Cent. 



Salonique 

Salnte-Sophle, Vo slecle 



ISO 




Saloniki 

Baptlsterium 



Saloniki 

Babtlsterlum 



Salonlque 

Baptlstdre 



151 




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